Soledad

Can't decide whether to frame this, or get a tattoo done. If I go for the tattoo I may edit it a bit so it fits. I play with thumb firmly anchored on pup / E / A depending where I am, but I do seem to float the thumb occasionally, mainly if moving up nearer neck for the snap n ring sound I like (notice sometimes where John Entwhistle played). So mostly the former, very occasionally a bit floaty. I reckon controlling the E is tricky if you don't drop the thumb down to A when playing D or G. I find the E has most energy in it and is hard to control with left hand alone.

Good question, I'm not aware of one but given the interest and research out there (various fan forums etc) you'd think such info will exist. Here's what I know and best recall - in the early 70s I was a kid who absolutely yearned for a Precision. Closest I got was the big stores anywhere near, the secondhand basses of 60s vintage hanging on the walls out of reach (they were only say 8 years old then, no big deal) and the brochures. Back in those days the 60s Ps weren't modded or messed with, nobody bothered. Some got beat up a bit, but they were straight. What I very clearly remember was the basses of this period (around 64s) were either burst with tort, or one of the few colours offered, with white plate. I have no recollection of black plates in that period (doesn't mean they didn't do them, just never remember one). I remember seeing the first paisleys in Leeds - there was a shop window with an imprint of my face on it. I do remember the list price in (I think) 67 - cos I got an old brochure from a dealer in Leeds some years later as a gift - guy on front holding a red Jazz, standing by a Bassman (100?) and a tall cab, maybe a 215 but don't recall. The Precision list in around '67 was £168.19.10 (yep, 19 shilling and 10 pence). Around '71 I paid 125 for my first (a 68), then 95 for my beat-up second (a 60) then 105 for the lifer, my '64 in blue with WHITE plate. Personally I don't know where all these plain colour 60s Fenders with tort plates came from. Certainly in the period I was obsessed with, tort was unique to sunburst.

unbelievable attention to detail, the heel shading and everything else. Super- particular. The fingerboard tinting is great - did you consider graduating it a bit in the open - 7th fret regions. I suspect finger grease over the years tended to darken the lower registers a little more. The BLO may contribute to that maybe. Fab work.

Wondering how he does the aged 'minty green' s'plate? They do go an odd shade which I'd say would be really hard to replicate - looks good though. An affordable way to get the lived in feel, like fine vintage Levi's 👍 p.s. re comments about a tort plate - isn't the white correct on this body colour for a 64 anyway? To me, a tort would just look like a swapped plate or a sunburst with a refin.

@BreadBin - may be deceptive but that looks huge ! From a sound p.o.v I guess big is good. For a typical EB player, I'd expect to have to adapt to the body size - looks v nice though. @itu - hadn't, looks very nice, quite serious (stand up as well, designed for bowing etc.), and over my 'give one a go' budget.

Indeed, mine's nice for an M3/M7... but happily my Mayones fits nice with its 2 + 2 head. They are good, helps if you get the right one. Impressive blag btw.👍

Very generous but I'd do the miles, only fair. There is a fine acoustic fretless a bit north of you I'd like to see (play really) so I may need to plan a road trip. Didn't even know that existed - very handsome indeed. This opens up how the bass is amplified - it seems less than optimum to use piezeo in the bridge when nylon wraps are popular (preferred even) and the bridge is often plastic of some sort. I wonder if either of those materials will transmit the micro-vibrations of the mids and highs very well at all. This started out an interest (has been for ages) but it may get a bit complex. I really just need to play a couple I think.

Checked listing - it does say quite clearly for M3/M7. Well, there we go...

The obvious question is what then? I've come to accept the obvious that reward is proportionate to risk. If a high reward low risk suddenly appears it's either a con, or it will rise almost instantly to a value/cost level reflecting the low risk - there is no such thing as cheap high returns without commensurate risk. I believe there is a very strong argument for making a part of an 'investment portfolio' quality objects of some scarcity. Obviously you have to know your subject and many here know their basses. I think you also have to take a medium to long term view. If you know what to pick, and factor in the tax efficiency, and then add in a component for the pleasure of ownership and/or use - a small collection of fine basses makes as much sense as any other scarce and desirable item. This probably isn't what a 'financial adviser' would ever tell us, but they're the people who tell you to be in the market long term, and to diversify - I can't tell you what I think of that advice without swearing quite a lot. Enjoy them basses 👍

Got a new Sire gigbag off the bay, secondhand but it is genuinely 'new'. Sire make one bag for the V3 / V7 and P. Thing is, there is no way I can get my V7 in - I removed the velcro pad at the lower bout end, there is just no way. Can't find any reviews anywhere saying it's an issue or tight. Mine's beyond tight, it's a no-go. Anyone had problems, have I missed something (it's not a complicated thing). excuse the rubbish shots, my bass isn't orange)

Definitely interested, maybe not five grand interested The Godin sounds interesting and seems to get good reviews, player feedback. Thanks for the generous offer, I'll do more research and be in touch. I'm not really bothered about acoustic volume, but do want something of an acoustic sound when amped, otherwise what's the point. btw, I know thay ll have piezo built in, but has anyone just mic'd one up, or contact mics etc?

Excellent Bill, thanks from me too. Take me a while to get that speed I reckon, but it's good and very useful. I'm spending more time these days seeking out routines and progressions etc that force me out of the space I normally (subconciously) stay inside - break all those playing habits. Great stuff 👍

Thanks for all the feedback. Has it crossed anyone's mind there's the start of a user group fan club here for acoustics... maybe not. I still like the idea, or is it a dream. Watched the vid jbu09 - quite a big beast with a surprisingly punchy sound, partly played quite aggresive I guess. I have a chance to try a nice fretless reasonably local soon, need to do that I think. Maybe try a freeted too. I'll report back - must say if it ends up like a solid body when plugged, I have the Mayones already and that's a peach. We'll see.

I've fancied one for some time, and I may go the whole distance and get a fretless... in for a penny, in for a health check Some have truss rods, some appear not to have. Given bass string tensions should I be concerned? Bridges are fixed so how do you deal with action and intonation if at all? Many seem to use nylon wraps, but I read issues with piezo pups using nylons - myth or legend? Is scale length more of an issue, and is 34" still a standard? Any user experiences, insights most welcome.

A lot of good tips here - play to radio etc all really good. Hearing the chord (the defining notes) and being aware of the common chord progressions. Also whoever said call the guitar player out, he is very likely just rolling out the stuff he does at home on auto 👍 Years ago a really good player told me about his trick to build the link between what you hear in your head and what you can play spontaneously. He regularly played tunes he knew in his head - classical bits, folk tunes, hymn melodies, pop song vocal lines. All this stuff takes you to note sequences you won't normally uset. This massively helps you find any interval on your bass that your head hears. Vocal lines (any top lines really) are good because they are built totally differently to bass lines. It's one thing that changed the game for me - really opened up the fingerboard and to think an interval and go straight to it in the efficient position... worth trying (and sticking at) IMHO.

Youtube is an amazing mine of rich guidance and insight - at the moment i'm really keen on Joe Hubbard's vids. There is so much out there, but just now I am enjoying his insights and approach to some things. Scott is great but he does his thing and I sometimes just hear a lot of notes like wallpaper with too many flowers on it. But the resources available to players on tight budgets are really enormous - video obviously totally destroys all the old books, as a medium. I know these guys are selling us up to the subscription deals, but what they pass on for free is rediculously good.

absolutely right I think. I used to be actively into classic cars, and you can tell who's buying by the period of cars peaking. If you grew up lusting over an E Type, you'll buy one in your 50s or with your retirement pot. The money is in the buyers who are typically 50s - 60s. So work back to what they grew up lusting for and you are currently back to say 70s/ early 80s. In 15 years time it will likely be different.